Schoeps CCM 2 Omnidirectional Compact Microphone

CCM 2

As can be seen from the frequency response curve, this microphone type has flat frequency response for frontal sound incidence. This yields a very natural quality when picking up sound that is predominantly direct, i.e. close to the source or in a ”dry” acoustic. The sonic impression never becomes overly brilliant or ”sharp.”

• omnidirectional
• linear frequency response
• corrected for the direct sound field
• for use close to the sound source (frontal sound incidence)
• preferred applications: close pickup of singers and instruments

CCM 2H

If this microphone is used indoors at medium recording distances (i.e. where direct sound energy is similar in amount to reflected sound energy), its overall response will be linear. Its extended frequency response and low noise make it appropriate for the most demanding applications.

The sound inlet of the CCM 2H is narrower than that of our other pressure transducers, causing a slight, purely acoustic response elevation above 6 kHz. This reduces the high frequency loss for diffuse sound, thus helping to preserve natural sound quality.

• omnidirectional pattern
• mild high-frequency rise to compensate for losses at medium recording distance
• often chosen for “spaced microphone” stereo pickup and “Decca Tree” arrangements

CCM 2S

The MK 2S exhibits a slight high-frequency emphasis for frontal sound incidence, with only a slight rolloff of high frequencies off axis and in the reverberant sound field.

The frequency response characteristic of the CCM 2S falls between that of the CCM 2 and the CCM 3, making this microphone suitable for a wide range of applications.

• omnidirectional pattern
• slight high-frequency rise to compensate for losses at moderate recording distances
• for a very wide range of recording applications
• often preferred for “spaced microphone” stereo pickup and “Decca Tree” arrangements

CCM 2XS

The CCM 2XS (formerly CCM 3) is designed for placement in a diffuse sound field, i.e. at distances in reverberant environments where the greater portion of arriving sound has already been reflected from various room surfaces. In such placement the integrated frequency response of this capsule is essentially flat; the on-axis high-frequency response elevation shown in the graph below is not heard as such. It is remarkable how well-focused a recording can be made with omnidirectional microphones at such distances, when the microphones have been designed and placed appropriately.

But when sound arrives from nearby sources in front of the capsule, high frequencies are distinctly accented, leading to a sound image with special brilliance.
If this type of microphone is used close to the sound source, the emphasis of high frequencies for on-axis sound incidence would become clearly audible, producing an overly brilliant sonic impression.

Since most recording today is miked more closely than in decades past, microphones such as the CCM 2S or CCM 2H are a reasonable norm for the majority of spaced-omni and “Decca Tree” applications. But if miking distances more typical of the mono and early stereo era are to be used, a capsule such as the CCM 2XS, with its full diffuse-field equalisation, may well offer the optimal balance of focus, depth and spaciousness – and the KA 40 accessory spheres can then add a further measure of presence to the sound at such distances, if desired.

The CCM 2XS is also often used as an ambient room microphone.

• omnidirectional pattern
• diffuse-field capsule
• for miking distances at which the predominant sound is no longer direct
• useful for relatively distant placement in reverberant environments – as a room microphone, for “spaced microphone” stereo pickup and in “Decca Tree” arrangements

Omnidirectional microphones - if constructed as single-diaphragm transducers, as all our omnidirectional microphones and capsules are - can be considered optimal due to their excellent reproduction of low frequencies and extremely low noise (with SCHOEPS as low as 11 dB(A)). The various types differ in the extent of their high-frequency response elevation, which compensates for the high-frequency losses in the diffuse sound field. Thus we offer both “free field equalised” and “diffuse field equalised” transducers as well as two in-between types.

For further specifications see those of the corresponding capsule:

CCM Series User Manual